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XUN-XUN: FROM DISORDER TO ORDER

Recent years has witnessed young artists getting more and more attention, which makes “Xun-Xun: from Disorder to Order” all the more timely. This exhibition to be held at Parkview Green Art Gallery aims to give more support to young artists who keeps experimenting in search of the best state of art for themselves, as well as for the current ambiance of art. 

“Xun-Xun”, meaning “following the order” is the law of the prevailing cultural migration. Cultural colonialism since modern times is nothing but a proper term for cultural nomadism after Capitalism. In the Eastern tradition, abstract art stands on its own. Art in China, in particular, with Confucianism, Taoism and Zen its core spirit, has been in the constant pursuit of harmony between the individual and the collective. There is admittedly traces of Western trends in a work of art, but as far as Abstract Art in America is concerned, since the 1950s, Mark Tobey, with his peers, has been arguing for the lines, rhythm or Zen in Chinese landscape painting and calligraphy. Cultural nomadism takes in whatever is necessary wherever it goes. From stylistic independence to neutrality, art is given new dimensions in its line amid disordered thinkings. 

18 artists across the country will be featured in this exhibition, held simultaneously at Parkview Green Art Gallery and Parkview Green 798. Their works range from abstract to figurative, the former covering not only oil painting but also ink, color pencil and paintings on paper whose contents vary from deconstruction to experiment in color gamut. The layout works to echo the works. Standing in front of these works characterized with meticulous brushworks and bright colors, we cannot help but smile at their taste of minor ups and downs in life, but the Chinese elements involved in the cold abstract works as deconstructive agents do remind us of the preempting pitfalls these artists are capable of. 

Equally striking is the figurative section, which marks their transition to new figurative art by means of hyperrealistic narration. As is said by Balthus, one of the leading figurative painters, “I aimed at what is behind the image”. These artists all starts with a series of landscapes, a figure or a group of figures from the micro-perspective. As for the angle, it can be either as low as a glass or as high as a cactus. In respect to materials as media, the pigments in“Prelude • Drowning” is squeezed and spread in such a way as to produce a unique three-dimensional effect. Women’s world is no longer bleak or ambiguous: brand-name cosmetics, bras, shoe boxes, sanitary napkins, etc., are not hidden from our view any more. This exhibition also speaks of the innocence and simplicity on the part of these experimenting artists, but it is their encounter and dialogue that will pave the way for the future. 

Art does not end in copying reality, and it departs from reality at times. This exhibition, while showcasing the individuality of these young artists, proving eloquently that concept still counts in the present art scenario. 

Zhu Qing

WanShenggu Museum

July 20, 2014

XUN-XUN: FROM DISORDER TO ORDER

Recent years has witnessed young artists getting more and more attention, which makes “Xun-Xun: from Disorder to Order” all the more timely. This exhibition to be held at Parkview Green Art Gallery aims to give more support to young artists who keeps experimenting in search of the best state of art for themselves, as well as for the current ambiance of art. 

“Xun-Xun”, meaning “following the order” is the law of the prevailing cultural migration. Cultural colonialism since modern times is nothing but a proper term for cultural nomadism after Capitalism. In the Eastern tradition, abstract art stands on its own. Art in China, in particular, with Confucianism, Taoism and Zen its core spirit, has been in the constant pursuit of harmony between the individual and the collective. There is admittedly traces of Western trends in a work of art, but as far as Abstract Art in America is concerned, since the 1950s, Mark Tobey, with his peers, has been arguing for the lines, rhythm or Zen in Chinese landscape painting and calligraphy. Cultural nomadism takes in whatever is necessary wherever it goes. From stylistic independence to neutrality, art is given new dimensions in its line amid disordered thinkings. 

18 artists across the country will be featured in this exhibition, held simultaneously at Parkview Green Art Gallery and Parkview Green 798. Their works range from abstract to figurative, the former covering not only oil painting but also ink, color pencil and paintings on paper whose contents vary from deconstruction to experiment in color gamut. The layout works to echo the works. Standing in front of these works characterized with meticulous brushworks and bright colors, we cannot help but smile at their taste of minor ups and downs in life, but the Chinese elements involved in the cold abstract works as deconstructive agents do remind us of the preempting pitfalls these artists are capable of. 

Equally striking is the figurative section, which marks their transition to new figurative art by means of hyperrealistic narration. As is said by Balthus, one of the leading figurative painters, “I aimed at what is behind the image”. These artists all starts with a series of landscapes, a figure or a group of figures from the micro-perspective. As for the angle, it can be either as low as a glass or as high as a cactus. In respect to materials as media, the pigments in“Prelude • Drowning” is squeezed and spread in such a way as to produce a unique three-dimensional effect. Women’s world is no longer bleak or ambiguous: brand-name cosmetics, bras, shoe boxes, sanitary napkins, etc., are not hidden from our view any more. This exhibition also speaks of the innocence and simplicity on the part of these experimenting artists, but it is their encounter and dialogue that will pave the way for the future. 

Art does not end in copying reality, and it departs from reality at times. This exhibition, while showcasing the individuality of these young artists, proving eloquently that concept still counts in the present art scenario. 

Zhu Qing

WanShenggu Museum

July 20, 2014

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